Suche:take off

"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art"

This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".

A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" (TR-1040) Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.

Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from", "...where is this from".

'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" (TR-1025)!

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904

Key-selling points:
- "Bout To Blow" is available on this 7" release only
- "Saints & Beggars" is taken from the forthcoming album "Mesquite Suite" (out september 2018)

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.

British DJ/producer Bearface has been on a bit of a roll of later. Aside from releases on his own Beartone label, the London-based label owner has also found time to deliver outstanding cuts to the likes of Exploited Ghetto, which housed his last release, the wonderful 'Moon'. This time around, he comes correct on his own Beartone label with a record that's notable for its quirky demeanour and undoubted eclecticism.

Opening up the release is the sounds of 'Mumbai Nights'. Although it gets us underway in fairly innocuous fashion, it quickly finds its feet thanks to a brilliant, whaling Indian-Inspired vocal that weaves in and out throughout. A whimsical track of that sort that's sure to be a hit with more daring DJs, it's an auspicious start to a release that's never lacking in personality.

As is his forte, Bearface then goes much deeper in search of kicks on 'Data Storm', taking us taking us down the rabbit hole to a place that's full of enticing oddities throughout. After this, the frankly bonkers sound of the electro-leaning title track 'Sista' take centre stage. A thoroughly intense peak-time workout, it's full of attitude and an indication of the producer's more gnarly and abrasive approach. All things considered, it's sure to get the night moving in an altogether different direction wherever it's unleashed.

Closing out the EP is the drum heavy sounds of 'March'. A broody track that's tailor made for the night's more relentless moments, it's a a fitting way with which to sign off an eclectic and dizzying release. The latest chapter in the Beartone story is a captivating listen throughout.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

For his inaugural EP under new guise 'Yem Gel', NTS Manchester resident and visual artist Alecs Pierce comes through with a four-track cacophony of sounds for Dave Maclean (Django Django) run label Kick + Clap.
From previous experimental outings as Obsidian Pond, gristed petunia and, Handi Dogh he returns with this new project based solely on electronic compositions, giving the multi-instrumentalist artist a chance to further explore his electronic leanings. Operating with a clear mission statement, Yem Gel moniker seeks to live up to its name's reference to malleable 'fictional future plastics' by offering a set of genre-spanning compositions, drawing from multiple influences from ambient, drum 'n' bass or grime and leaving us wondering where he might take us next.

Record Kicks Is Extremely Proud To Present You A New Outfit That Will Take The Soul Scene By Storm: The Faithful Brothers. Coming Straight From The Brainchild Of Tel Aviv Soul Club, The Faithful Brothers Is Man Of North Country's (acid Jazz Records) Side -project And Its Leaded By Singer "soul Boy" Yashiv Cohen. Monc Teamed Up With Record Diggers The Neeman Brothers To Form This New Eight-piece Deep Soul Combo. Their Official Debut On Record Kicks Is Expected With 2 Brand New Singles That Will Be Available On Digital Download And Limited Edition 45 Next 15 Of June.

On The A Side "crossroads Of Love" Is A Northern Soul / R&b Stormer That Will Set All The Dancefloor On Fire. On The Flip Side The Stunning Crossover Soul Single "one More Time" Penned To Be An Instant Classic On All Rare Soul Dancefloors Across The World.

Don't Sleep Though, This 45 Will Be Limited To 500 Copies, So First Come First Served...watch Out!

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

Dynamic composer Neil Cowley is set to release 'Spacebound Tapes' a four track EP featuring remixes of his Trio's 'Spacebound Apes' album ("A miss- this-at-your-peril release" Drowned In Sound 9/10) by Rival Consoles, Throwing Snow, Christian Löffler and Vessels

'Spacebound Apes' was written by Cowley for his trio and long-time bandmates drummer Evan Jenkins and bassist Rex Horan, with contributions from Brian Eno collaborator Leo Abrahams on guitars and FX. A bold exercise in atmosphere and emotion, the album was woven together with some of the most breathtaking, impassioned music that Neil has created. Originally inspired by Arthur C Clarke's 1956 sci-fi book 'The City and the Stars' the album was recorded at Cooper Hall, a studio and cinema set deep in the Somerset countryside with Stanley Kubrick's '2001 A Space Odyssey' running on permanent rotation.

The sci-fi aesthetic is firmly grasped by the four remixers, echoing the theme in their own reinterpretations. The reimagined tracks retain the inventiveness of the originals while exploring progressive but considerate paths. In his version of 'Weightless', Erased Tapes signed Rival Consoles feeds off of the electronic songwriter's critically lauded humanised techno, while rising German musician Christian Löffler brings new dimensions of space and scale to 'Death To Amygdala'. Houndstooth's Throwing Snow delights in deconstructing 'Duty To The Last' with pulsing energy and Vessels' take on 'Echo Nebula' applies machinic facets to the delicate sounds of the original.

Taken from Gabe Gurnsey's upcoming debut solo LP, 'Physical' on Phantasy, 'Eyes Over' zones in on a proto-Hacienda groove that's undistilled militant funk, loose and lucid elements of electro and dub-laden drums conspire to offer an alluring landscape for Gurnsey's restless vocals. The harder-hitting Extended Dub takes more precise aim at the dancefloor, allowing each disparate, analogue element more room to unfold across a throbbing baseline.

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

For its seventh offering, Sol Power Sound taps into the pulse of the French Antilles for Tambours de Martinique, a blistering EP of original and remixed versions of rare, drum-centric dance floor workouts. Licensed directly from the legendary Martiniquan label Hibiscus Records, the EP features cuts by Eugène Mona and Max Ransay, two of Martinique's most storied musicians. With reworks by Spanish DJ and producer Kiko Navarro and the Sol Power All-Stars, this one will be in the record bags of discerning DJs all summer long.

The A side features 'Lizo' by Eugène Mona, an essential figure in the folkloric music of Martinique based on the bamboo flute, bèlè drums, and the island's specific variant of Antillean creole. Lizo was originally released in 1990 on Mona's Blanc Mangé Blan Manjé LP and is anchored by frenetic percussion, a driving bassline, and house-evocative key stabs. Kiko Navarro's remix takes an already dynamic cut to deep Afro-space with thumping drums and a bubbling synth-bass groove that will put dancers through their paces.

With its powerful combo of urgent brass and ensemble vocals, Max Ransay's 1988 recording of the traditional Martiniquan folk song 'Ti Kanno' fills the B-side. 'Ti Kanno' was previously recorded by Ti Émile, Ransay and Mona's legendary forebear. Full of surprises, Ransay's version is a sonic melting pot of hand percussion, horns, unexpected synth lines, and bass. The Sol Power All-Stars edit fills out the low-end thump and teases out the groove for maximum impact.

FINA Records welcome Jad & The for a new EP that shows off the Australian-born, Berlin-based producer's majestically melodic house sound. A special dub from 6th Borough Project makes this another essential release.

Before now Jad & The has served up tracks of the year ('Strings That Never Win' - Mixmag 2017), fronted four piece live act Mitzi—who played alongside the likes of Nile Rodgers—and also produced as Jad & The Ladyboy, all the while picking up fans like Moxie and Bradley Zero. Sonar Kollektiv and Toy Tonics have put out his charming sounds before and this new one is another joyous offering.

The feel good '2 Getha (4 Eva Mix)' kicks things of with old school drum breaks and loved-up vocals. Big smeared pads, a new age melody and classic bassline line finish it off and carry you away to summery house heaven. 'Twist Club' then drops into lush deep house with a long legged bassline tumbling beneath organic drums. It's a dreamy and romantic cut before 'Disco Hold Down' has live sounding jazz drums, choppy vocals and rough edges that take you to the heart of a vibe-fulled basement party. Delusions Of Grandeur's 6th Borough Project serve up a Dub that's more stripped back and built on a big rubber bassline. Jacking drums and a more rapturous vocal make it a truly steamy jam.

Buy the EP digitally and you get a bonus track, '2 Getha (Neva Mix)' which is another blissed out and rave tinged house cut which oozes pure euphoria. It closes out a brilliantly heartfelt EP of varied and vital house sounds.

Lil Jabba is a creator, possessing immense skills and artistry clearly demonstrated in both his visual and audio work. His profession in the latter has been acclaimed since his early releases, where he successfully delved into the realms of juke and footwork, producing tunes that took the genres to a new level. Since then, the producer has gone on to develop a sound distinct to himself, touching on ways in which he can blend his vast sound palette as seen in his recent projects released via Local Action.

For his first release on GETME!, Lil Jabba provides a five track mini LP that keeps us on our toes, unaware of what to expect next. It takes its listeners into positively weird places, combining aspects from dub, jungle and UK garage to produce sounds unrecognisable to any genre, yet well-fitting. Additionally, he presents us with tracks that are mentally stimulating in their dynamic and intense breaks, also offering songs which exhibit ambiguous dimensions.

'Bugs' is AUS label owner Will Saul's first solo EP in over 4 years and follows his inaugural release on new Aus compilation series, Inside Out. Here's Will on the A side.... 'Bugs' is inspired as much by dancing at Plastic People/Co-op to the Bugz In The Attic as is it is by Carl Craig's Innerzone Orchestra track Bugs In The Bass Bin. Hopefully I bring my own twist to these key influences...... 'The Map Room' tumbles with big, swinging drums as a fervid sense of tension burns throughout before Matt Karmill takes 'Bugs' off on a linear dubbed out excursion to complete the package....

Quantic's Debut On Breakin' Bread Gets The Reissue Treatment, Albeit With The Heavier Rob Life Remix Of we Got Soul' (1st Time On A 45). First Released 18 Years Ago, The Original 45 Is In Demand, And Who Would Have Known Where It Would Take The Multi Talented Will Holland -a Deal With Tru Thoughts & A Ridiculous Number Of Top Notch Releases Under Various Guises, The Man Knows No Limits. Both These Tracks Are Bangers - Snooze You Lose On This Limited 45. Officially Licensed From Breakin' Bread.

The legendary 1972 album from Celia, arranged by Arthur Verocai.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights
over the course of her extensive career.

This, her second self-titled LP from 1972, features an all-star line up, including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes, among others.

Célia's version of 'Na Boca do Sol' - taken from this album - is arguably her most well-known and well-loved song. An incredible take on Verocai's original, featuring waling fuzz guitars, strings, piano, horns and drums.

Needless to say clean, original versions of this record now change hands for
silly money.

Official reissue in replica of original gatefold artwork.

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

Losoul's Another Picture label follows on from EPs in 2017 by Honesty and the label boss himself with a new two tracker by Japanese artist Sasaki Hiroaki. The Yotsume label owner is based in Tokyo and his sleek sounds take cues from 80s new wave and look for a soulful vibe in electronic music. 2018 has already seen him release on Open Recordings and now he offers up some warm house rollers for Another Picture. 'EO1' is eight minutes of rubbery drums and loose, scattered percussion, tumbling toms and clicks. Dreamy chords light up the background and the whole thing drives ever deeper into the night, always evolving as it goes. On the flip, 'Plain Song' is just as heartfelt, but icy hi hats and metal stabs are more upright, getting you on your toes and keeping you there for another eight minutes of organic, authentic deep house bliss.